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The daily figure!

29! is the particularly high in the eyes 08 of the MRC phones the Community of communes of Ardennes Meuse Rives was in charge last summer and has certainly not diminished since. What should we think this figure was revealed by Bernard Dekens, Chairman of intermunicipal most envied of the department, at the Community Council held on August 4, 2010 ? A priori it is the reflection of the many skills exercised by the Community of communes since the use of 21 of them had been in his most important administrative leadership and its various managers who were able to increase their speed of communication and therefore the work efficiency of the entire community personnel. Therefore a good thing, nobody can complain.

But what about the other 8? They were made available to the President of intermunicipal , which is the smallest of things, 6 of the 10 vice-presidents and one of 23 community advisors . A logical division overall, but leads, however, several questions! Why 4 vice-presidents do not they use the same means of communication that their alter egos? Is it because their functions, namely the environment, tourism, new technologies and urban planning, are considered secondary? Why Jean-Luc Grabowski is it the only community advisor to receive a cell phone from the Community of Commons? Is it because he is also first deputy with Bernard Dekens, Mayor Vireux-Wallerand who is also chairman of intercommunal, as already said here and there of bad language? Or is this privilege - revealed how awkward the anniversary of the abolition of privileges - he explained, because it makes services unknown to the general public to the Community of Commons?

Simple questions, but not trivial for the taxpayers of the Community Banks of Commons Ardennes Meuse, which it would be nice to get one day clear answers ...

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The joke of the heads of Modigliani

During the summer of 1984, the centenary of the birth of the artist Amedeo Modigliani (July 12, 1884), the Museum of Modern Art in Livorno Progressive decided to set up an exhibition in tribute to its most famous citizen. The exhibition aims to highlight the short and poorly documented career as a sculptor Modigliani.

The project was entrusted to the care of curator of the museum, Vera Durbar, with the help of his brother Dario, superintendent at the Galleria d'Arte Moderna in Rome. To enrich the exhibition, initially a bit 'thin and snubbed by the critics (of the 26 sculptures modiglianesche, there were only four arrived in Livorno), the two decide to explore the use of excavators for Fosso Medici, where in 1909, they say, Modigliani had thrown away, disheartened by the opinion of his fellow citizens and about to leave permanently Paris, some of his sculptures.

The town of Livorno (junta PCI) does not hesitate to fund the research, hoping to feed the puny touring the beautiful Tuscan city. And so, before a meager crowd of onlookers, the bucket of the digger began patrolling the ditch. They spend a few days, but the sculptures there is no trace of Modigliani.

When the whole operation seems to have taken the form of a huge waste of public money, that's the eighth day something amazing and miraculous haul of the city of Livorno, the bucket has found an object. This is a head of granite carved with hard strokes and stretched. They spend a few hours and the bulldozer pulls out of the ditch the other two blocks of stone, which turn out to be as many sculptures, also representing the heads.

Durbar For Vera and his brother there is no doubt: the works belonging to Amedeo Modigliani. From that moment on, the city of Livorno is literally overrun with tourists and media from around the world, with great happiness by the city administration that in that 'company played the face. From America to Japan, curious journalists and art critics are crowded in front of the Museum of Villa Maria, eager to see the extraordinary findings. The great masters of Italian critics, by Argan Ragghianti in passing and Brandi Carli, applauded the company.

Durbar Vera's brother, Dario, published in record time a book entitled "Two Stones trove of Amedeo Modigliani," with photos and comments of eminent experts. From the words of the same Durbar can well understand the infectious enthusiasm that reigns in that period: "A few words to describe an incident and the emotions that would have required the space of an entire book. I have felt close to Modigliani, as if the stone had the power to make physical contact and cancel seventy-five years that separated him from the bitter gesture glory of our discovery. "

The triumphant day is scheduled for Sunday, September 2, in the exhibition, for the presentation of the book that definitely should be devoted to the global significance of the discovery. But as old saying, "not everything that glitters is not necessarily gold." In fact, while at the Museum of Modern Art Progressive Livorno are preparing the celebrations and the final details before the inauguration, Ansa news falls on the firm as a bolt from the blue, three students from Livorno, Peter Luridiana, Pierfrancesco Ferrucci and Michele Guarducci, in an interview with the weekly Panorama, the authors claim to have caught the second head of the ditch. This is a game, say the three young, successful obtained a joke not a poetic and philological correct chisel, but with a simple and prosaic Black & Decker electric drill.

To confirm what we just said, at its output the weekly public some pictures of three students in a garden at the same time in which they carry out the work. To dispel any remaining doubts, counterfeiters are also invited on television during prime time, live to repeat their experiment in front of over ten million viewers tuned.

This does not however detract from the strength of those ( Durbar brothers as well as most critics) who still believe that the works are the fruit of the chisel of the late artist and found that the three students is only one way to get publicity. To substantiate their argument, there are still two other heads discovered that in any way and by their own admission the three boys had been able to carve. The trench behind which is protected at all costs the supporters of the authenticity of the works, collapsed after about ten days, when learns that the idea of flouting the height of the art world was not just jumped in head Luridiana, Ferrucci and Guarducci.

It turns out, in fact, that the other two sculptures are the work of such a Froglia Angelo, twenty-nine, a docker, discreet artist and former member of the terrorist organization of extreme left-wing Revolutionary Action. Unlike the three students who had the company made a joke, almost innocently, Froglia has deeper motivations and complex. "I did not care to make a joke - told reporters the clever forger - the joke of the three students was a crazy variable that has hampered me a lot. My intent was to highlight how a collective process of persuasion through Rai, newspapers, chatting between people, it could affect people's beliefs. I am also an artist, I'm moving in the channels of art, I wanted to stimulate debate on ways of art and I succeeded in full. Mine was a conceptual, if you will in a sense was also a work of art, such as Christo bundling the monuments, but I had no desire to be controversial to the administration, or against the city, or against the art critics as a single .. I just wanted to know how in the world of the effect of the mass media and so-called experts can lead to very big crabs take . In fact, the so-called experts were reduced to silence, unable to react and covered with ridicule.

Worldwide, after betting the eyes of the cameras and the interest on the Tuscan town where he was the miracle of finding a long-awaited and desired, therefore, knew of the hoax of Livorno. The whole story Jupiter, and not just at the famous brand of Black & Decker electric drills, which sets its advertising campaign on the extraordinary potential of its product. As for the rest, the story ended with tears of Vera Durbar and the amused smile of the Italian public.

http://www.instoria.it/home/teste_modigliani.htm

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Marguerite Burnat-Provins

1872-1952

It 's a French painter.

Nnata in Arras, northern France, Marguerite married in London, spent most of his life in Egypt, and finally adopts the Valais in Switzerland as a homeland.

nineteen, Marguerite Provins comes to Paris to study art at ' Academie Julien in 1891.
Unusual for a woman, Marguerite also studied anatomy at the university faculty of medicine.

In one of his early portraits distinctly symbolist, the painter portrays himself with a pencil and a white sheet with eyes Deep and thoughtful, in a sort of contemplation.
He realized, then, a series of allegories, in pencil and sepia, exploring the subconscious of a young girl fought in her femininity. An air of anxiety pervades these fabulous pictures.

During his studies, Marguerite Provins meets a young student of architecture, Adolph Burnat, the pair married just after one year of engagement.

also worked in literature, writing well about twenty volumes of prose.

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La Maison du Philosophe

This is a building constructed with recycled materials Girardon impasse in the district of Montmartre.

However, it is stylistically in sharp contrast with the houses in the Maquis of Montmartre, mostly huts and shacks. La Maison du Philosophe

consists of two parts, without any comfort, and petite balconies overlooking the wasteland below.
those who live, he used to sit in the balcony absorbed in thought, is this behavior of the individual owners that the building was named after him.
And soon he too was defined as "the philosophe du Maquis."

Unfortunately the whole tower was dismantled in the first half of the nineteenth century to make way for construction of new palaces, remains, however, to show a semblance of its achievement in ceramic tile artist Poulbot in Rue Darémont.
Other artists such as Maurice Utrillo the represented several times in their production.

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Givet: Belgian authorities require information on the incinerator project! Demonstrators

The last November 8, several members took advantage of a Walloon public meeting of the Walloon government commission in charge of Environment, Spatial Planning and Mobility to ask questions of the minister Philip Henry on the proposed construction of an incinerator Givet and the possible consequences that would result for the Belgian population residing nearby. In the absence of official information from the authorities French, the minister had pledged to request from the Prefect of the Ardennes, which was quickly done and brought him back a letter sent on December 20 . Alas, except for the announcement of Belgian municipalities DOISCHE and Hastières will be consulted during the public inquiry because of their location within 3 kilometers of the planned incinerator, the missive does prefectural contained only generalities already appeared in the press!

Insufficient for the tough member of Beauraing Jean-Claude Maene , who asked the January 18 a second oral question to Philip Henry in which, after recalling that Givet is in the heart of Wallonia, he asked for "real information ", " greater transparency "and the participation of municipalities and Houyet Beauraing public inquiry in relation to their location in the winds ... and in the absence of a satisfactory response is preparing to ask a third at the meeting of the Committee of the Walloon Environment to be held on March 1 . Obstinacy welcome since it led the Minister Philippe Henry to send another letter to the Prefect of the Ardennes, which you can read below, in which he expressed the wish Walloon government to participate in the evaluation process environmental impact and therefore calls accurate description of the project, elements of the environment likely to be affected and a timetable for the proceedings .

(for easier reading of the document, you can enlarge it by left clicking)

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Doctor fever

Among the most bizarre of the Venetian Carnival masks, the Plague Doctor is recognizable by the long nose like the beak of a stork.

Originally, this was not a mask but rather to serve as protection for so-called Doctors of the Plague, who came in contact with the sick of this terrible disease. This disease killed half the population of Venice during the two epidemics which ravaged Europe in 1576 and 1630. The Plague Doctors

inclusion of herbs in the beak masks, wore glasses and touched the lepers and their clothes with only a wooden stick. All these means of protection were considered essential to avoid being infected.

http://www.innvenice.com/Maschere-Veneziane.htm

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Hector Guimard

Lyon, March 10, 1867 - New York, May 20, 1942

E 'was a French architect, the main exponent of Art Nouveau in France.

the international dependency of Art Nouveau, Guimard ago figure of sniper isolated leaves no disciple behind him, nor any school, and why it has long been tempted to regard it as a secondary player in this movement - lack of seed that contrasts with the extraordinary formal and typological profusion of his architectural and decorative work, where the architect provides the best of himself in about fifteen years of extraordinary creative activity.

From his studies of architecture, Guimard is sensitized to the theories of Eugène Emmanuel Viollet-le-Duc, which laid the foundations, since 1863, the future structural principles of Art Nouveau. The conversion of Guimard style itself is by its most detailed: it is during a trip to Brussels, where he visits the Tassel of Victor Horta. The realization of the most emblematic of this age, the Castel Béranger (1898), illustrates this moment of transition that saw the shock between these two legacies: the medieval-inspired geometric volumes of the great work spreading the organic line in profusion "in whiplash imported from Belgium.

Guimard Castel Beranger made famous overnight and then allowed him numerous commissions to refine his research increasingly aesthetic - the harmony and continuity of style in particular (a principal ideal of Art Nouveau), which led to an almost totalitarian conception of the interior decoration, culminating in 1909 with the hotel Guimard (wedding present to his rich American wife) where oval rooms are furnished with period furniture, an integral part of the building.

If the shaft of light right in Victor Horta is a given rather absent in his work (except late Hôtel Mezzaro example, in 1910), Guimard drug leads, however, spatial experiences, the volumes of his buildings in particular: Home Coilliot and its curious double-facade (1898), the villa and its beautiful Bluette The volumetric harmony (1899), and especially the Castel Henriette (1899) and Castel d'Orgeval (1905), radical manifestations of a "flat-free" vigorous and asymmetrical, twenty-five years before the theories of Le Corbusier. The symmetry is not proscribed, the splendid hotel Nozal, in 1905, incorporating the provision of a rational plan in the framework proposed by Viollet-le-Duc.

Innovations There are also structural, as in this extraordinary concert hall Humbert de Romans (1901), where a complex structure breaks up sound waves to get to perfect acoustics. Or, similarly, as in Hotel Guimard (1909), where the narrowness of the lot allows the architect to reject any function carries on the external walls and deliver all the interior layout, different from one floor to another.

Toccatutto brilliant, Guimard is also a precursor of industrial standardization, insofar want to spread the new art on a grand scale. On this floor knows a real success - despite the scandals - with its famous Metro entrances in Paris, flexible constructions the triumphant ornament structural principle of Viollet-le-Duc. The idea is taken - but with less success - in 1907 with a catalog of cast iron elements applicable to architecture: the artistic castings style Guimard. Date back to 1911, the Hôtel Mezzaro and apartment buildings of the Rue Agar.

As for the overall architectural framework, the conception of its intrinsic works of art carry the same ideal of formal continuity (which allows you to combine all the practical functions into a single body, as with the Vase of Binelles of 1903) and linear, as in the design of its furniture, from the graceful and harmonious silhouette.

His inimitable stylistic vocabulary proceeds of a particular plant organicism attractive, while remaining resolutely on the side of abstraction. Mouldings and nervous movements invest so much stone that the wood in the pot, it creates real Guimard abstract compositions that fit with the same freedom to the window (Hôtel Mezzaro, 1910), the ceramic panel (home Coilliot, 1898), iron Forged (Castel Henriette, 1899), the painted paper (Castel Beranger, 1898) or tissues (Hotel Guimard, 1909).

But despite this firework of innovations and demonstrations in many areas, the world quickly deviates from Guimard: less work, is the man who irritates. And, honorable representation of Art Nouveau, is himself a victim of contradictions related to the ideals of the movement: his most perfect creations are financially inaccessible to the greatest number, and reverse its attempts at standardization are hurt her very personal vocabulary. It is completely forgotten when it expires in 1942 in New York, where he was exiled for fear of the war (his wife was Jewish).

After many destructions, explorers blocks (the first "hectorologi") leave to the rediscovery of the artist and his universe to the years 1960-1970 with patience and reconstitute its history. If the key has been done in this field, that is, one hundred years after the "magnificent gesture" Art Nouveau "(Le Corbusier), most of the buildings Hector Guimard remain inaccessible to the public, and that a "Museum Guimard" has not yet been opened in France.

http://it.wikipedia.org/wiki/Hector_Guimard

portal entrance to the Castel Béranger

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sketch for the cover of the magazine "Revue d'Art"

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Alvin Langdon Coburn

Boston 1882 - Colwyn Bay 1966

E 'was an American photographer.
Coming from a family of industrialists, and came to photography for the involvement of a distant cousin, FH Day, which began in 1900 to Pictorialism and helped him to exhibit in London.

The following year, in Paris, he studied under the guidance of Edward Steichen , after opening a studio in New York in 1905 he returned to London where he made many portraits of intellectuals who would later be collected in Men of mark two volumes (1913, Men of success) and More Men of Mark (1922; Other successful men).
Thanks to the studies conducted from 1907 to 1909 on the technique of etching, was only able to print from the plates of his collections dedicated to London (1909) and New York (1910). Already these early works mark a passing pictorial aesthetics in favor of a cutting-edge research, particularly evident in the path of the Grand Canyon 26 views appeared in the magazine Camera Work (1911) or semi-abstract composition entitled Urban Octopus (1912).
In 1917 his research led to the extreme symbolist adhering to the vortex, a movement founded in England by E. And W. Pound Lewis, in this period are the so-called vortografi, images obtained before placing a prism lens with reflective surfaces which implemented a breakdown of cubist forms. Driven by a strong spiritual tension, Coburn in 1919 was affiliated to the Freemasons, relegating the photo in the background.

http://www.sapere.it/enciclopedia/Coburn, Alvin + + Langdon.html

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Martín Rico y Ortega

El Escorial , Madrid, 1833 - Venice , 1908

It is a English painter , mostly landscape .

He studied at the Escuela de Bellas Artes de San Fernando , with his master Genaro Pérez Villamil . E 'was also a disciple of his brother Bernard with whom he worked as designer and engraver , becoming artistic director of magazine "The Ilustración Española y Americana".

In 1854 began his travels in Europe : Paris, Switzerland, England , Italy .

Throughout his artistic production you can see a continuous evolution from an initial realistic way to a full-blown impressionism .
L ' influence of Turner and Ruysdael led him to paint landscapes increasingly humanized . His relationship with Mariano Fortuny makes Ortega deepen painting step reaching tones and brighter Impressionists. One of his most works notes is titled "Las lavanderas.

In 1907 published his book memories of "Recuerdos de mi vida" , dedicated to his friend landscape Aureliano de Beruete .

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28 October: disproportionate sentences for example!

After a hearing that lasted almost 10 hours , the high court in Charleville-Mezieres delivered its verdict 8 against the demonstrators continued to broken windows and / or violence towards law enforcement during the demonstration against the "reform" of pensions which took place Oct. 28: a hundred hours of community service for one of the accused, 3 to 8 months in prison stay for another 6 and 1 year in prison for the last! Justice is thus done for supporters of the ruling power and the retrograde of all kinds which that dream of a return to economic practices, social and political nineteenth century.

But when one remembers the method worthy of an organized crime operation used to stop the 8 protesters pursued, knowing the speed with which the investigation was conducted, so it takes months or even years for the appearance of a rogue boss and especially when you look at the sentences , one can legitimately ask what justice is? From the made on behalf of the French people who mass was in the street on October 28 and whose claims have not been taken into account or that the orders of a vengeful power willing to criminalize social action to defuse the advance of other challenges?

ask the question is to answer it! That is why the MRC 08 wishes to reiterate its support to the 8 protesters condemned and now wishes the appeal hearing to be held in Reims takes place in a climate neutral and serenity who apparently failed to Charleville Mezieres. If justice decried his last time in our country for making decisions challenged, will have a chance to redeem himself in the eyes of public opinion Ardennes. This would be a shame she does not grasp and leaves the image of an institution which, as in the fable by Jean de la Fontaine warned makes white or black as they are powerful or miserable .. .

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Élie-Anatole Pavil

1873-1948

Élie Pavil arrived in France in 1892 from his home Black Sea of Odessa, Ukraine .
already carry with them some works at home, Pavil entered to 'Académie Julian where his teacher William Bouguereau , figurative painter of great renown .

Pavil was greatly influenced by the style of his teacher, but differs from that soon acquire a knowledge of Impressionist Renoir, Monet and Sisley.
He moved later in Morocco, on the coast of North Africa where painted a large number of landscapes and scenes of everyday life of Mediterranean .

was one of the artists represented in " Show of artists French "of 1905 and exhibited at the Salon des Independents and the Salon d'Automne.

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The grand crue de la Seine , 1910